Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political figure looms as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from politics.

"People with a voice should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would forge a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."